Little Miss Sunshine (2006)

Little Miss Sunshine is a hilarious feel-good movie. It is unassuming but delightful. Each character is such a character, brought to life by a strong cast. The young Abigail Breslin is brilliant. I found myself genuinely laughing on my redeye flight at approximately 3AM. This was way better than sleeping.

Wildlife (2018)

Man, Wildlife is boring. I acknowledge that it is well composed and Carey Mulligan is divine. But Montana is really uninteresting. And the movie is quiet and slow and wholly depressing. This poor kid is trying to hold his family together and he gets zero help. It's hard to appreciate the great performances through the depression.

Okja (2017)

Okja has a very niche plot, but it is a story that can easily resonate with everyone. It'll forever be known as the super pig (slash hippo) movie. It's a risk that pays off handsomely for Netflix, which has already conquered the medium of television. This has the potential to be Netflix's big break in the original narrative film side of the business. Beasts of No Nation was very good but it never really broke through. Okja, though shunned by the cinematic tradition at Cannes, is the future. Netflix is desperate to catch Amazon, already with a Best Picture Oscar nomination for last year's Manchester by the Sea. What makes this film so important? It demonstrates to auteur filmmakers around the world that Netflix is willing to take risks. It will produce artistic films that no one else will. And if not with Okja, it eventually will strike a Best Picture nomination with this model. And leave it for crazy Bong Joon-ho to lead the way for Netflix.

The acting in Okja is quite over the top. I'm looking at you, Jake Gyllenhaal. I'm not sure how I feel about it. He's really insane. But somehow, the over exaggeration fits because it has dramatic and funny moments. Because his foil is a slightly less crazy Tilda Swinton. And the more subdued crazy of Paul Dano. The little girl, Ahn Seo-hyun is very good too as she embarks on a quest to rescue her super pig Okja. I guess that requires a little explanation. The genetically modified super pigs are produced by an evil company, given to farmers around the world to be bred for 10 years, then to be put into food production.  It's a charming simultaneously disturbing story with a moral. That moral will inspire people to become a vegetarian, or at least to not eat pig, after all Mija's favorite food is chicken. It's not a totally anti-meat movie per se, but there is a moral that you can discern for yourself. 

Youth (2015)

I didn't really get this comedy-drama from director Paolo Sorrentino. Maybe I am not old enough to appreciate youth or Youth. There are lots of metaphors and I just couldn't follow all of them. I'm not sure what to make of the ending when Fred conducts his "Simple Song #3." The music and lyrics are both quite simple, but it is a delightfully beautiful song. Soprano Sumi Jo gives a dazzling performance. All of the main actors give strong performances. They get to speak their minds in monologues that allow them to shine. Jane Fonda gets just one scene towards the end but she plays up her inner diva.

The film has some dazzling images. Filmed on location at Waldhaus Films hotel in Switzerland, the scenery is breathtaking. The garden has a circular turntable that hosts nightly performances. The movie opens with a song (reminiscent of Florence and the Machine) filmed while rotating. One of the more memorable images is of a performer creating a large bubble. And there's a great scene in which Caine imagines conducting a herd of cows as he sits on a rock atop a hill. 

Love & Mercy (2015)

Paul Giamatti is so creepy as the hack of a doctor Landy. He just does evil so well. Coincidentally, this is the second evil music producer he has played this year after Straight Outta Compton. The music is very different. It is less about lyrical genius and more about musical genius. Brian Wilson created complex layers of instrumentation. Paul Dano brilliantly and effectively plays a young Wilson who is just beginning to hear voices in his head. The studio scenes are incredible. They are shot on Super 16 handheld cameras documentary style. These are candid, intimate shots in the studio zooming in and out of Wilson instructing the musicians on the exact sounds he is trying to produce. He experiments with literal pet sounds, puts hairpins in the piano, and keeps his voice in the track. He has complete control over the studio, making sure that he achieves perfection. There is a shot of Wilson working with the cellist and the camera rotates to film the rest of the studio while the action takes place off camera. You hear it but you don't see it. This recurs in the film. The music naturally has a lot of sound mixing, and the sounds tell the story as much as the pictures do--such is the power of music.

The texture given to the young Wilson scenes contrast John Cusack's scenes of an older Wilson. The story jumps back and forth in an innovative approach to the biopic. And I like that different actors were cast to play the same man, like in the Bob Dylan biopic I'm Not There (also written by Oren Moverman). We primarily see the man under the care of Dr. Landry who has been suffering from his mental illness for many years. And in between there are glimpses of the younger Wilson, to remind the viewer of the genius that is being hidden by his illness. But here is the nuance, the illness inspires Wilson to write some of his most revolutionary and iconic music. The title Love & Mercy is a fitting one that is also one of his songs, without giving away too much. And the original song "One Kind of Love" written by Wilson for the film is very good. It was inexplicably left off the list of Oscar-eligible songs this year, though it might win the Golden Globe.